lack of materials, with the workers being secretly employed on other town projects, opens it and tosses the film out to be exposed to the light. Alone at home, his wife having left the relationship with their daughter due to his obsession with filming rather than his family, Filip now turns his 16mm camera on himself. Cast Jerzy Stuhr as Filip Mosz Malgorzata Zabkowska as Irka Mosz Ewa Pokas as Anna Wlodarczyk Stefan Czyzewski as Director Jerzy Nowak as Stanislaw Osuch Tadeusz Bradecki as Witek Jachowicz Marek Litewka as Piotrek Krawczyk Boguslaw Sobczuk as Kedzierski Krzysztof Zanussi as Himself Andrzej Jurga as Himself Alicja Bienicewicz as Jaska Tadeusz Rzepka as Wawrzyniec Aleksandra Kisielewska as Hania, secretary Wlodzimierz Maciudzinski as Stelmaszczyk Roman Stankiewicz as Czeslaw Antonina Barczewska as Katarzyna Feliks Szajnert as Doctor Jolanta Brzezinska as Wawrzyniec's Wife Teresa Szmigielówna as Herself Jacek Turalik as Buczek Andrzej Warchal as TV editor (as Andrzej Warchol) Danuta Wiercinska as Grazyna (as D. Wiercinska) Tadeusz Huk as Doctor on Duty Analysis Camera Buff explores censorship in Communist Poland and its repression of the individual's expression of his observations. Filip also confronts the consequences of a man who discovers new possibilities and finds his former world, which had been so fulfilling before he'd discovered filmmaking, rendered dull, old, and limited. Krzysztof Kieślowski emphasizes the power of film through various scenes in Camera Buff. Filip's moviemaking allows his grieving friend to watch a short clip of his late mother waving from a window and of himself cheerfully driving a hearse and waving to the camera. When he films the story of a diminutive factory worker and then shows him the result, the worker is overcome with emotion by Filip's ability to give voice and an arc to an otherwise ordinary, unexceptional life. Filip finds that with its ability to create comes film's ability to destroy when he tries to air a film clip of his which aims to quietly expose Party corruption. The clip turns out to be misinformed and results in the dismissal of one of his supporters from his job, an unfortunate consequence of his uninformed reporting, the Party's secrecy, and Communist Poland's culture of censorship. The film ends with Filip turning the camera on himself, realizing too late that all along he should have reflected on the consequences of his camera obsession on himself, his life, and his family. Production Filming locations Kraków,